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The Ceiling Man

  by Patricia Lillie


(about 331 pages)
82,680
total words
of all the books in our library
52.42%
vividness
of all the books in our library
9.24%
passive voice
of all the books in our library
1.65%
all adverbs
of all the books in our library
0.37%
ly-adverbs
of all the books in our library
1.28%
non-ly-adverbs
of all the books in our library

clippings from this book

We’ve analyzed hundreds of millions of words, from thousands of different authors, training our linguistic models to recognize the most vivid words in the English language… the words that create the most intense sensory experiences: colors, textures, sounds, flavors, and aromas.

Based on our analysis, we’ve scanned through the pages of this book to find the two pages at the extremes, both the most-passive and the most-vivid pages, so that you can compare them side-by-side and see the difference:

MOST PASSIVE PAGE
MOST VIVID PAGE
says, “I’ll take you on an adventure. It’ll be fun. You’ll see, Little Piggy.” I am not a Little Piggy and I do not think we will go to Maryland. Abby-land is not on the map and I do not know what color it is but it is not red. Maybe it is blue. Maybe it is yellow like Maryland. I do not think I should let it be red. I want to go find the Ceiling Man but I know I must wait. Daddy says, “Patience, Abby. Patience.” I am being patient, but it is hard. When I am small and angry and not patient and cannot stop screaming, Gramma Evelyn says, “Look at the state she’s in!” but she is not pointing at a map. State is a slippery word. Maybe Abby-land is a state. I think the Ceiling Man will come and the Woodsman will go away. I will be the Ceiling Man’s new friend and live in a box. I do not want the Ceiling Man to go to Abby-land. Maybe if it is not on the map he will not find it. There is no clock, and I do not know how long I must wait. I am not the Ceiling Man’s friend and I do not want to be the Ceiling Man’s friend. I do not want Abby-land to be red and I do not want to be Abby-in-the-Box and I do not want to be lost. The Daddy-whisper says, “Abby, you must be evaporate, wisps of red steam. In its place came overwhelming drowsiness. Dorothy in the Field of Deadly Poppies. When was the last time we read The Wizard? Dorothy’s shoes were silver in the book. Abby doesn’t like red. My eyelids are weights and my arms tingle with electricity. I will melt into my chair and disappear. The cookie jar smirks. The air thickens with a sweet, heavy stench. Poppies. I know poppies have no scent, but I know it is poppies I smell. It is not possible but it is true. I will give in to their drug. More than anything, I want to give in to their drug. “It is okay, Mom. Breathe,” Abby says. Her whisper is the sound of the ocean. A soft rumble. Thunder. No. Jim—or maybe Evelyn—speaks, their words a tremor I don’t understand. “We need to go to Oz,” I say. “The man behind the curtain—” “I know,” Abby says. My daughter is wise. “Mom, breathe.” I obey. The saccharin perfume fills my nose, my lungs, my head. The kitchen tilts and fades, and I am surrounded by waves of crimson. Poppies are red. “No red,” Abby says, and the soft scent of lavender replaces the reek of the poppies. The Ceiling Man The brat had her mother. The woman was out of his reach. For a while. He’d lost the battle, but not the war. He never lost the war. Syrup dried and stiffened on his face. Its sticky sweetness soaked

emotional story arc

Click anywhere on the chart to see the most significant emotional words — both positive & negative — from the corresponding section of the text…
This chart visualizes the the shifting emotional balance for the arc of this story, based on the emotional strength of the words in the prose, using techniques pioneered by the UVM Computational Story Lab. To create this story arc, we divided the complete manuscript text into 50 equal-sized chunks, each with 1653.60 words, and then we scored each section by counting the number of strongly-emotional words, both positive and negative. The bars in the chart move downward whenever there’s conflict and sadness, and they move upward when conflicts are resolved, or when the characters are happy and content. The size of each bar represents the positive or negative word-count of that section.

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other books by Patricia Lillie

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